This project was developed based on simply questioning the relevance of 'the ground'. As architecture is taking up more and more space high above ground levels as well as far below at the absence of light is the relevance of ground put on trial. In an attempt to establish a new mapping method where unconventional designs are correctly represented is two- and three- dimensional mediums explored, more specifically through experimenting with cinematographical methods.

Seen project is only parts of a written thesis found at https://drive.google.com/file/d/1yBDThtlCmlCsH0q0h_EuH_nfaW8gHB9F/view

Cartographic practices have, since the 15th century, been representational of three-dimensional environments, whether that be of entire cities or local neighbourhoods, all depicted as two-dimensional illustrations. The most commonly invoked mapping system, the figure-ground method, consists of a plasmatic arrangement of solids (built space) and void (ground) defined by the colours black and white. Giambattista Nolli famously delineated Rome in Pianta Grande di Roma, 1748, as a figure-ground drawing as well as developing a secondary drawing method, making interior public spaces easily readable. The figure-ground relationship is stated to be mutually exclusive where neither can be perceived unless in relation to the other. However, this union is also complementary. While figure can enhance ground, the ground can detract from figure and vice versa. Interesting in this analogy is the position of the street, which etymology determines as having a closer relevance to figures than ground. How eligible is figure-ground mapping as an urban analytical tool today in articulating new urban conditions?

This binary mapping method is, despite its common use, deceptive in that it assumes a hierarchical order in which the figure is always perceived and privileged over the ground. Gestalt’s theory of perception is relative in the dialogue and reveals physical limitations as to what a polar illustration can interpret. The empirical search for the the figure-ground relationship is rather limited if solely based on iconographical and ichnographical mapping methods. However, cinematographical methods traverse the dialogue into a three-dimensional realm. Figure and ground in this instance translated to foreground and background, encouraging the search for the figure-ground relationship ; the middle ground.

This notion is abstracted as an communications artefact. Michelangelo Antonioni´s movie from 1960 movie, La ‘L’Avventura’, is analysed and made into a short animation, effectively demonstrating the search for the metaphorical ground. The conventional figure-ground construct is further interrogated regarding information it may offer whilst its relevance is questioned when sat in the context of the modern city. The artefact will help unfold an alternative perception that reveals the proposition that figure-ground relationships exists on multiple levels in architecture.

Forty-eight scenes were analysed, each still scene taken three minutes apart. Each sense is analysed based on focus and placed in the category of foreground, middle ground and background. The final artefact is made through the use of Photoshop, Sketchup and a stop motion tool.